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Thinking In and About Music: Analytical Reflections on Milton Babbitt's Music and Thought

Milton Babbitt (1916-2011) was, at once, one of the century's foremost composers and a founder of American music theory. These two aspects of his creative life--"thinking in" and "thinking about" music, as he would put it--nourished each other. Theory and analysis inspired fresh compositional ideas, and compositional concerns focused theoretical and analytical inquiry. Accordingly, this book undertakes an excavation of the sources of his theorizing as a guide to analysis of his music. In Thinking In and About Music, author Zachary Bernstein shows how Babbitt's idiosyncratic synthesis of ideas from Heinrich Schenker, analytic philosophy, and cognitive science--at least as much as more obviously relevant predecessors such as Arnold Schoenberg--provide insight into his aesthetics and compositional technique. At the same time, a close look at his music reveals a host of concerns unaccounted for in his theories, some of which seem to directly contradict theoretical expectations. Bernstein argues, therefore, that new analytical models are needed to complement those suggested by Babbitt's theories. Departing from the serial logic of most previous work on the subject--and in an attempt to discuss Babbitt's music as it is actually heard rather than just deciphered--the book brings to bear theories of gesture and embodiment, rhetoric, text setting, and temporality. The result is a richly multi-faceted look at one of the twentieth century's most fascinating musical minds.

Thinking In and About Music: Analytical Reflections on Milton Babbitt's Music and Thought

Milton Babbitt (1916-2011) was, at once, one of the century's foremost composers and a founder of American music theory. These two aspects of his creative life--"thinking in" and "thinking about" music, as he would put it--nourished each other. Theory and analysis inspired fresh compositional ideas, and compositional concerns focused theoretical and analytical inquiry. Accordingly, this book undertakes an excavation of the sources of his theorizing as a guide to analysis of his music. In Thinking In and About Music, author Zachary Bernstein shows how Babbitt's idiosyncratic synthesis of ideas from Heinrich Schenker, analytic philosophy, and cognitive science--at least as much as more obviously relevant predecessors such as Arnold Schoenberg--provide insight into his aesthetics and compositional technique. At the same time, a close look at his music reveals a host of concerns unaccounted for in his theories, some of which seem to directly contradict theoretical expectations. Bernstein argues, therefore, that new analytical models are needed to complement those suggested by Babbitt's theories. Departing from the serial logic of most previous work on the subject--and in an attempt to discuss Babbitt's music as it is actually heard rather than just deciphered--the book brings to bear theories of gesture and embodiment, rhetoric, text setting, and temporality. The result is a richly multi-faceted look at one of the twentieth century's most fascinating musical minds.

Things I Carry Around: The bestselling memoir from the ARIA Award-winning country music star

A born storyteller, Troy Cassar-Daley has at last turned his talent to sharing his own inspiring life.‘Troy’s achievements are many, and perhaps the finest may be his ability to make us listen to his heart.’ Joy McKeanFor the first time, Troy talks about his early life - how his parent’s divorce changed things for him, about missing his Dad and growing up in Grafton surrounded by the warmth and love of his mother, Irene, his Nan and Pop and his extended Indigenous family. A larrikin at heart, Troy includes all the highs and lows on his path to stardom: the thrill of performing on stage at the Tamworth Music Festival with Jimmy Little when he was just 15; the excitement of heading off on tour with Brian Young and then discovering just how lonely life on the road could be; his first record deal; playing with the greats – Johnny Cash, Willie Nelson, Merle Haggard and Slim Dusty; his first album Beyond the Dancing, which blended his indigenous heritage with his rural background; meeting the woman who would steal his heart; recording in Nashville; and, finally, releasing True Believer, the album that really launched his career. The multiple Golden Guitar, APRA, ARIA and Deadlys winner also lets us in on some of the life lessons he learned the hard way, lessons that kept this prodigiously talented Aussie on the straight and narrow (most of the time). Things I Carry Around, is the warm, genuine, and inspiring story of a young indigenous Australian who had a dream and turned that dream into reality. ‘Troy’s a true gentleman, warm and genuine, always a pleasure to be around. He sings straight from his heart and straight from the heart of his country.’ Paul Kelly

The Thing is…

Described as the Irish John Peel, Dave Fanning has been a major player in the Irish and global music scene for over 30 years.

They Might Be Giants' Flood (33 1/3)

For a few decades now, They Might Be Giants' album Flood has been a beacon (or at least a nightlight) for people who might rather read than rock out, who care more about science fiction than Slayer, who are more often called clever than cool. Neither the band's hip origins in the Lower East Side scene nor Flood's platinum certification can cover up the record's singular importance at the geek fringes of culture. Flood's significance to this audience helps us understand a certain way of being: it shows that geek identity doesn't depend on references to Hobbits or Spock ears, but can instead be a set of creative and interpretive practices marked by playful excess-a flood of ideas. The album also clarifies an historical moment. The brainy sort of kids who listened to They Might Be Giants saw their own cultural options grow explosively during the late 1980s and early 1990s amid the early tech boom and America's advancing leftist social tides. Whether or not it was the band's intention, Flood's jubilant proclamation of an identity unconcerned with coolness found an ideal audience at an ideal turning point. This book tells the story.

They Might Be Giants' Flood (33 1/3)

For a few decades now, They Might Be Giants' album Flood has been a beacon (or at least a nightlight) for people who might rather read than rock out, who care more about science fiction than Slayer, who are more often called clever than cool. Neither the band's hip origins in the Lower East Side scene nor Flood's platinum certification can cover up the record's singular importance at the geek fringes of culture. Flood's significance to this audience helps us understand a certain way of being: it shows that geek identity doesn't depend on references to Hobbits or Spock ears, but can instead be a set of creative and interpretive practices marked by playful excess-a flood of ideas. The album also clarifies an historical moment. The brainy sort of kids who listened to They Might Be Giants saw their own cultural options grow explosively during the late 1980s and early 1990s amid the early tech boom and America's advancing leftist social tides. Whether or not it was the band's intention, Flood's jubilant proclamation of an identity unconcerned with coolness found an ideal audience at an ideal turning point. This book tells the story.

They Can't Kill Us Until They Kill Us: Essays

A stunning collection of essays using music as a vantage point through which to examine and interrogate the world we live in, culturally and politically.In an age of confusion, fear, and loss, Hanif Abdurraqib’s is a voice that matters. Whether he’s attending a Bruce Springsteen concert the day after visiting Michael Brown’s grave, or discussing public displays of affection at a Carly Rae Jepsen show, he writes with a poignancy and magnetism that resonates profoundly.In the wake of the nightclub attacks in Paris, he recalls how he sought refuge as a teenager in music, at shows, and wonders whether the next generation of young Muslims will not be afforded that opportunity now. While discussing the everyday threat to the lives of black Americans, Abdurraqib recounts the first time he was ordered to the ground by police officers: for attempting to enter his own car.In essays that have been published by the New York Times, MTV, and Pitchfork, among others—along with original, previously unreleased essays—Abdurraqib uses music and culture as a lens through which to view our world, so that we might better understand ourselves, and in so doing proves himself a bellwether for our times.

These Are Not the Words

New York City in the 1960s is the humming backdrop for this poignant, gritty story about a girl who sees her parents as flawed human beings for the first time, and finds the courage to make a fresh start. Missy’s mother has gone back to school to pursue her dream of becoming an artist. Missy’s father works in advertising and takes Missy on secret midnight excursions to Harlem and the Village so she can share his love of jazz. The two write poems for each other — poems that gradually become an exchange of apologies as Missy’s father’s alcohol and drug addiction begins to take over their lives. When Missy’s mother finally decides that she and her daughter must make a fresh start, Missy has to leave her old apartment, her school, her best friend and her cats and become a latchkey kid while her mother gets a job. But she won’t give up on trying to save her family, even though this will involve a hard journey from innocence to action, and finally acceptance. Based on the events and people of her own childhood, Amanda Lewis’s gorgeous novel is driven by Missy’s irresistible, optimistic voice, buoyed by the undercurrents of poetry and music. Key Text Features poems dialogue literary references epigraph vignettes

Therapeutic Songwriting: Developments in Theory, Methods, and Practice

Therapeutic Songwriting provides a comprehensive examination of contemporary methods and models of songwriting as used for therapeutic purposes. It describes the environmental, sociocultural, individual, and group factors shaping practice, and how songwriting is understood and practiced within different psychological and wellbeing orientations.

A Theory of Musical Narrative

Theory of Music Workbook Grade 1 (PDF)

Theory of Music Workbook Grade 1 for Trinity College London written exams.

Theory of Music Workbook Grade 1

A Theory of Minimalism

The explosion of minimalism into the worlds of visual arts, music and literature in the mid-to-late twentieth century presents one of the most radical and decisive revolutions in aesthetic history. Detested by some, embraced by others, minimalism's influence was immediate, pervasive and lasting, significantly changing the way we hear music, see art and read literature. In The Theory of Minimalism, Marc Botha offers the first general theory of minimalism, equally applicable to literature, the visual arts and music. He argues that minimalism establishes an aesthetic paradigm for rethinking realism in genuinely radical terms. In dialogue with thinkers from both the analytic and continental traditions – including Kant, Danto, Agamben, Badiou and Meillassoux – Botha develops a constellation of concepts which together encapsulate the transhistorcial and transdisciplinary reach of minimalism. Illustrated by a range of historical, canonical and contemporary minimalist works of different media, from the caves of early Christian ascetics to Samuel Beckett's late prose, Botha offers a bold and provocative argument which will equip readers with the tools to engage critically with past, present and future minimalism, and to recognize how, in a culture caught between the poles of excess and austerity, minimalism still matters.

A Theory of Minimalism

The explosion of minimalism into the worlds of visual arts, music and literature in the mid-to-late twentieth century presents one of the most radical and decisive revolutions in aesthetic history. Detested by some, embraced by others, minimalism's influence was immediate, pervasive and lasting, significantly changing the way we hear music, see art and read literature. In The Theory of Minimalism, Marc Botha offers the first general theory of minimalism, equally applicable to literature, the visual arts and music. He argues that minimalism establishes an aesthetic paradigm for rethinking realism in genuinely radical terms. In dialogue with thinkers from both the analytic and continental traditions – including Kant, Danto, Agamben, Badiou and Meillassoux – Botha develops a constellation of concepts which together encapsulate the transhistorcial and transdisciplinary reach of minimalism. Illustrated by a range of historical, canonical and contemporary minimalist works of different media, from the caves of early Christian ascetics to Samuel Beckett's late prose, Botha offers a bold and provocative argument which will equip readers with the tools to engage critically with past, present and future minimalism, and to recognize how, in a culture caught between the poles of excess and austerity, minimalism still matters.

A Theory of Art

What, if anything, has art to do with the rest of our lives, and in particular with those ethical and political issues that matter to us most? Will art created today be likely to play a role in our lives as profound as that of the best art of the past? A Theory of Art shifts the focus of aesthetics from the traditional debate of "what is art?" to the engaging question of "what is art for?" Skillfully describing the social and historical situation of art today, author Karol Berger argues that music exemplifies the current condition of art in a radical, acute, and revealing fashion. He also uniquely combines aesthetics with poetics and hermeneutics. Offering a careful synthesis of a wide breadth of scholarship from art history, musicology, literary studies, political philosophy, ethics, and metaphysics, and written in a clear, accessible style, this book will appeal to anyone with a serious interest in the arts.

Theory of African Music, Volume II (Chicago Studies in Ethnomusicology #2)

Erudite and exhaustive, Gerhard Kubik’s Theory of African Music provides an authoritative account of its subject. Over the course of two volumes, Kubik, one of the most prominent experts in the field, draws on his extensive travels and three decades of study throughout Africa to compare and contrast a wealth of musical traditions from a range of cultures. In this second volume, Kubik explores a variety of topics, including Yoruba chantefables, the musical Kachamba family of Malawˆ i, and the cognitive study of African rhythm. Drawing on his remarkable ability to make cross-cultural comparisons, Kubik illuminates every facet of the African understanding of rhythm, from timing systems to elementary pulsation. His analysis of tusona ideographs in Luchazi culture leads to an exploration of African space/time concepts that synthesizes his theories of art, rhythm, and culture. Featuring a large number of photographs and accompanied by a compact disc of Kubik’s own recordings, Theory of African Music, Volume II, will be an invaluable reference for years to come.

Theory of African Music, Volume II (Chicago Studies in Ethnomusicology #2)

Erudite and exhaustive, Gerhard Kubik’s Theory of African Music provides an authoritative account of its subject. Over the course of two volumes, Kubik, one of the most prominent experts in the field, draws on his extensive travels and three decades of study throughout Africa to compare and contrast a wealth of musical traditions from a range of cultures. In this second volume, Kubik explores a variety of topics, including Yoruba chantefables, the musical Kachamba family of Malawˆ i, and the cognitive study of African rhythm. Drawing on his remarkable ability to make cross-cultural comparisons, Kubik illuminates every facet of the African understanding of rhythm, from timing systems to elementary pulsation. His analysis of tusona ideographs in Luchazi culture leads to an exploration of African space/time concepts that synthesizes his theories of art, rhythm, and culture. Featuring a large number of photographs and accompanied by a compact disc of Kubik’s own recordings, Theory of African Music, Volume II, will be an invaluable reference for years to come.

Theory of African Music, Volume II (Chicago Studies in Ethnomusicology #2)

Erudite and exhaustive, Gerhard Kubik’s Theory of African Music provides an authoritative account of its subject. Over the course of two volumes, Kubik, one of the most prominent experts in the field, draws on his extensive travels and three decades of study throughout Africa to compare and contrast a wealth of musical traditions from a range of cultures. In this second volume, Kubik explores a variety of topics, including Yoruba chantefables, the musical Kachamba family of Malawˆ i, and the cognitive study of African rhythm. Drawing on his remarkable ability to make cross-cultural comparisons, Kubik illuminates every facet of the African understanding of rhythm, from timing systems to elementary pulsation. His analysis of tusona ideographs in Luchazi culture leads to an exploration of African space/time concepts that synthesizes his theories of art, rhythm, and culture. Featuring a large number of photographs and accompanied by a compact disc of Kubik’s own recordings, Theory of African Music, Volume II, will be an invaluable reference for years to come.

Theory of African Music, Volume I (Chicago Studies in Ethnomusicology #1)

Taken together, these comprehensive volumes offer an authoritative account of the music of Africa. One of the most prominent experts on the subject, Gerhard Kubik draws on his extensive travels and three decades of study in many parts of the continent to compare and contrast a wealth of musical traditions from a range of cultures. In the first volume, Kubik describes and examines xylophone playing in southern Uganda and harp music from the Central African Republic; compares multi-part singing from across the continent; and explores movement and sound in eastern Angola. And in the second volume, he turns to the cognitive study of African rhythm, Yoruba chantefables, the musical Kachamba family of Malaŵi, and African conceptions of space and time. Each volume features an extensive number of photographs and is accompanied by a compact disc of Kubik’s own recordings. Erudite and exhaustive, Theory of African Music will be an invaluable reference for years to come.

Theory of African Music, Volume I (Chicago Studies in Ethnomusicology #1)

Taken together, these comprehensive volumes offer an authoritative account of the music of Africa. One of the most prominent experts on the subject, Gerhard Kubik draws on his extensive travels and three decades of study in many parts of the continent to compare and contrast a wealth of musical traditions from a range of cultures. In the first volume, Kubik describes and examines xylophone playing in southern Uganda and harp music from the Central African Republic; compares multi-part singing from across the continent; and explores movement and sound in eastern Angola. And in the second volume, he turns to the cognitive study of African rhythm, Yoruba chantefables, the musical Kachamba family of Malaŵi, and African conceptions of space and time. Each volume features an extensive number of photographs and is accompanied by a compact disc of Kubik’s own recordings. Erudite and exhaustive, Theory of African Music will be an invaluable reference for years to come.

Theory of African Music, Volume I (Chicago Studies in Ethnomusicology #1)

Taken together, these comprehensive volumes offer an authoritative account of the music of Africa. One of the most prominent experts on the subject, Gerhard Kubik draws on his extensive travels and three decades of study in many parts of the continent to compare and contrast a wealth of musical traditions from a range of cultures. In the first volume, Kubik describes and examines xylophone playing in southern Uganda and harp music from the Central African Republic; compares multi-part singing from across the continent; and explores movement and sound in eastern Angola. And in the second volume, he turns to the cognitive study of African rhythm, Yoruba chantefables, the musical Kachamba family of Malaŵi, and African conceptions of space and time. Each volume features an extensive number of photographs and is accompanied by a compact disc of Kubik’s own recordings. Erudite and exhaustive, Theory of African Music will be an invaluable reference for years to come.

Theory, Method, Sustainability, and Conflict: An Oxford Handbook of Applied Ethnomusicology, Volume 1 (Oxford Handbooks)

The nine ethnomusicologists who contributed to this volume, balanced in age and gender and hailing from a diverse array of countries, share the goal of stimulating further development in the field of ethnomusicology. By theorizing applied ethnomusicology, offering histories, and detailing practical examples, they explore the themes of peace and conflict studies, ecology, sustainability, and the theoretical and methodological considerations that accompany them. Theory, Method, Sustainability, and Conflict is the first of three paperback volumes derived from the original Oxford Handbook of Applied Ethnomusicology, which can be understood as an applied ethnomusicology project: as a medium of getting to know the thoughts and experiences of global ethnomusicologists, of enriching general knowledge and understanding about ethnomusicologies and applied ethnomusicologies in various parts of the world, and of inspiring readers to put the accumulated knowledge, understanding, and skills into good use for the betterment of our world.

Theory, Method, Sustainability, and Conflict: An Oxford Handbook of Applied Ethnomusicology, Volume 1 (Oxford Handbooks)

The nine ethnomusicologists who contributed to this volume, balanced in age and gender and hailing from a diverse array of countries, share the goal of stimulating further development in the field of ethnomusicology. By theorizing applied ethnomusicology, offering histories, and detailing practical examples, they explore the themes of peace and conflict studies, ecology, sustainability, and the theoretical and methodological considerations that accompany them. Theory, Method, Sustainability, and Conflict is the first of three paperback volumes derived from the original Oxford Handbook of Applied Ethnomusicology, which can be understood as an applied ethnomusicology project: as a medium of getting to know the thoughts and experiences of global ethnomusicologists, of enriching general knowledge and understanding about ethnomusicologies and applied ethnomusicologies in various parts of the world, and of inspiring readers to put the accumulated knowledge, understanding, and skills into good use for the betterment of our world.

Theory for Today's Musician Workbook, Third Edition

Theory for Today’s Musician, Third Edition, recasts the scope of the traditional music theory course to meet the demands of the professional music world, in a style that speaks directly and engagingly to today’s music student. It uses classical, folk, popular, and jazz repertoires with clear explanations that link music theory to musical applications. The authors help prepare students by not only exploring how music theory works in art music, but how it functions within modern music, and why this knowledge will help them become better composers, music teachers, performers, and recording engineers. This broadly comprehensive text merges traditional topics such as part writing and harmony (diatonic, chromatic, neo-tonal and atonal), with less traditional topics such as counterpoint and musical process, and includes the non-traditional topics of popular music songwriting, jazz harmony and the blues. The accompanying companion website provides interactive exercises that allow students to practice foundational theory skills. Written by experienced authors, both active classroom teachers for many years, Theory for Today’s Musician is the complete and ideal theory text to enable today’s student to accomplish their musical goals tomorrow. Updated and corrected throughout, the Third Edition includes: Expanded coverage of atonality and serialism, now separated into two chapters. Broadened treatment of cadences, including examples from popular music. Substantially rewritten chapter on songwriting. Interactive features of the text simplified to two types, "Concept Checks" and "Review and Reinforcement," for greater ease of use. New and updated musical examples added throughout. Charts, illustrations, and musical examples revised for increased clarity. Audio of musical examples now provided through the companion website. The accompanying Workbook offers exercises and assignments to accompany each chapter in the book. A companion website houses online tutorials with drills of basic concepts, as well as audio.

Theory for Today's Musician Workbook, Third Edition

Theory for Today’s Musician, Third Edition, recasts the scope of the traditional music theory course to meet the demands of the professional music world, in a style that speaks directly and engagingly to today’s music student. It uses classical, folk, popular, and jazz repertoires with clear explanations that link music theory to musical applications. The authors help prepare students by not only exploring how music theory works in art music, but how it functions within modern music, and why this knowledge will help them become better composers, music teachers, performers, and recording engineers. This broadly comprehensive text merges traditional topics such as part writing and harmony (diatonic, chromatic, neo-tonal and atonal), with less traditional topics such as counterpoint and musical process, and includes the non-traditional topics of popular music songwriting, jazz harmony and the blues. The accompanying companion website provides interactive exercises that allow students to practice foundational theory skills. Written by experienced authors, both active classroom teachers for many years, Theory for Today’s Musician is the complete and ideal theory text to enable today’s student to accomplish their musical goals tomorrow. Updated and corrected throughout, the Third Edition includes: Expanded coverage of atonality and serialism, now separated into two chapters. Broadened treatment of cadences, including examples from popular music. Substantially rewritten chapter on songwriting. Interactive features of the text simplified to two types, "Concept Checks" and "Review and Reinforcement," for greater ease of use. New and updated musical examples added throughout. Charts, illustrations, and musical examples revised for increased clarity. Audio of musical examples now provided through the companion website. The accompanying Workbook offers exercises and assignments to accompany each chapter in the book. A companion website houses online tutorials with drills of basic concepts, as well as audio.